Hallo Thomas,
Thomas Altmann wrote:I have never gotten to Berlin that often, except for a one-time batá project with Florian Schade and Otti Köhler (who is now living in Oldenburg, I think). That was like 30 years ago, Jeez ... I would also like to meet Robby Geerken one day. He must be very good. But at the moment I'm not travelling at all.
I actually know and have played with both Florian and Robby. Florian I know more personally and played only privately with him. He’s a very good percussionist and knows a lot of rhythms. I met him through other musicians many years ago. About five years ago he wanted to put together a Batá Ensemble. So a Cuban Babalao on Onkóklo and I on Itótele began to practice with him learning the rhythms from him playing Iyá. I recall him talking about the project that you mention here after he returned from Cuba in the late 80’s, early 90’s. Small world…
Anyway, I really enjoyed learning and playing the
oru seco. But, it was and is a lot of information to digest and retain. And I was already busy enough with having to practice repertoire on bongó, conga and maracas along with cajón to be able to keep up and play the gigs that I was most fortunate to have at the time. - I was playing with an Argentinean troubadour who sadly passed away last year. He had a small ensemble playing many different styles and had me playing all these instruments and sometimes at the same times including chimes and campana and expected me to be able to play them all correctly-. So, I decided to let the batá go for the time being thinking I would pick it up later perhaps if possible, but then Corona hit and like so much of the music scene, it never picked up again. I’ve done a few repairs and mounted some skins for Florian and saw him last about a year and a half ago at a private jam.
Robby Gerken is also very good. He had private instruction as a kid here in Berlin from Changuito. He also has organized Workshop engagements for Changuito here in Berlin when the Meistro is in Europe. How can he not be good…? At any rate, I also had the pleasure about 7 years ago of playing and sharing the stage with him once on Bongó in a Latin Jazz group as well as at a jam or two. He also plays folklorico, mostly Rumba, Abakuá. I believe he plays exclusively Tumbadora. I’ve never seen him play any other drum, at least not publicly. I’ve mounted skins on a couple of his student’s congas a while back. Of the Latin-percussionist hier they are among the ones who worked the most or did work before the scourge hit. And as German latin-percussionist in Berlin go, they’re the most known and respected I think. They both have spent time in Cuba and speak Spanish fluently and are likewise real tight with the Cuban scene here.
Have you had contact with Florian since then?
Regarding the SONOR Rims and eyelets. I have two Sonor 12" Tumbas 70's & 80's models with such crowns. The wide form of the eyelets with the equidistant placement on those rims are quite neccessary I think due to the rims being not only characteristically and relatively larger in diameter compared to other conga brands, but most importantly perhaps because they are also narrower, at just over 15 mm, I believe. I think it also helps that for support the flesh-hoops are 6 mm, rectangle, (Keilstahl) stock. I like the design and they are well made. My only problem with them is that they are a bit too large in diameter. But, one gets use to it. They seem to fit your Schallochs nicely though. And the eyelets on yours appear to be later model that are able to accomodate a round Flesh-hoop.
Hopefully things can get back to some kind of relative normalcy soon!